Seven years is a long time between records. Good Riddance have ended that stretch with ‘Before The World Caves In,’ their tenth studio album, out now on Fat Wreck Chords. It’s their first release since 2019’s ‘Thoughts and Prayers,’ and the band arrived at it with a clear sense of what they needed to deliver.
“We’re hopeful that the album comes across with the severity and urgency of the times we are living in,” the band shares. “As our 10th studio album, we wanted to make sure we were firing on all cylinders, delivering something potent, strident, and something that both longtime fans and people who are brand new to the band could sink their teeth into.”
Lead single “There’s Still Tonight” arrived ahead of the album and set the tone directly. Good Riddance have always written with political and emotional weight behind their punk framework, and this record makes no attempt to soften that. A decade in and the band sounds like they have something specific to say.
Teenage Joans have been building toward this sound for a while. “Bandits,” the Adelaide pop-punk duo’s new single, pairs their signature urgency with a country-tinged edge that opens up their sonic range without softening anything that made them worth paying attention to in the first place.
Written during a beachside writing trip in early 2025, the track captures the reckless loyalty of an all-consuming romance. Bonnie and Clyde as a reference point, blind devotion as the emotional engine. “We really wanted to blend a country vibe with our classic pop punk,” the band explains. “The song is about feeling an intense connection to someone, so much so that you would do anything for them and rule out the worst because you love them so much.”
Teenage Joans emerged in 2018 and have spent the years since building a fanbase through relentless touring and live shows that consistently turn new audiences into loyal ones. They’ve shared stages with Foo Fighters, Sum 41, and Sleeping with Sirens, and toured globally while remaining fiercely independent throughout.
The UK tour is underway now, running through mid-May with dates in Glasgow, Leeds, Birmingham, Bristol, London, and Brighton’s The Great Escape festival. It’s a tight, well-routed run that puts the band in front of exactly the right rooms.
John Summit’s debut album ‘CTRL ESCAPE’ is out now on Experts Only/Darkroom Records, and “SHADOWS” is the single that keeps the pre-release conversation going. Featuring vocals from LAVINIA, the track pairs tech-house production with layered synths and a seductive pull toward collective escape. It’s the second single from the album and another piece of a project that’s been building in real time across Summit’s live sets for months.
LAVINIA’s vocal hook, an invitation to follow her further than a million miles into the night, frames the track’s central tension between intimacy and anonymity. The production reflects that balance precisely, tech-house structure underneath something that feels genuinely cinematic.
‘CTRL ESCAPE’ moves across genres without losing its footing. Tech-house, dubstep, drum and bass, and broader electronic influences all appear across the record, with collaborators including Feid and Julia Wolf already generating viral traction from teaser footage alone. The album’s first single “LIGHTS GO OUT” used its visual to tell a story of self-liberation, office routine dissolving into club chaos. The thematic thread running through the project is consistent and deliberate.
Summit spent the past year delivering some of the largest performances of his career. He headlined New York City’s Experts Only Festival to over 50,000 fans, featuring Kaskade B2B Cassian and Green Velvet B2B Layton Giordani among others. He played Lollapalooza Paris and Germany, Ultra Europe, two sets at Austin City Limits, and closed the year with a sold-out show at Folsom Field in Boulder. His UK headline debut at London’s O2 Arena also landed in that stretch.
The live schedule from here through the rest of 2026 is relentless. Nine consecutive Monday residency dates at UNVRS in Ibiza run through July. His UK headline debut at Labyrinth Events’ Tofte Manor arrives in July. Tomorrowland appears twice in the same weekend. The Experts Only Festival returns to New York City in September after its sold-out 2025 debut.
‘CTRL ESCAPE’ is out now on Experts Only/Darkroom Records.
Upcoming Shows:
15 May — Atlanta, GA — Breakaway Atlanta
17 May — Las Vegas, NV — LIV Beach
22 May — Las Vegas, NV — LIV Nightclub
24 May — Las Vegas, NV — LIV Beach
1 Jun — Ibiza, Spain — UNVRS
8 Jun — Ibiza, Spain — UNVRS
15 Jun — Ibiza, Spain — UNVRS
22 Jun — Ibiza, Spain — UNVRS
29 Jun — Ibiza, Spain — UNVRS
6 Jul — Ibiza, Spain — UNVRS
11-12 Jul — Bedford, UK — Tofte Manor (Experts Only UK)
13 Jul — Ibiza, Spain — UNVRS
19 Jul — Boom, Belgium — Tomorrowland Week 1
20 Jul — Ibiza, Spain — UNVRS
19 Jul — Boom, Belgium — Tomorrowland Week 2
27 Jul — Ibiza, Spain — UNVRS
1 Aug — Las Vegas, NV — LIV Beach
8 Aug — Las Vegas, NV — LIV Beach
19-20 Sep — New York, NY — Experts Only Festival NYC
Wet Leg and The Dare met at an afterparty in Austin last October, DJed together, and apparently decided a remix was the natural next move. The result is out now, a frenetic reworking of “mangetout” that brings The Dare’s dance-punk and electroclash swagger directly into Wet Leg’s world.
The Dare is best known as a Charli xcx collaborator, and his party-driven production instincts are all over this version. “mangetout” already had momentum behind it as a Radio 1 and 6 Music A-listed single from Wet Leg’s second album ‘moisturizer,’ and its recent placement in episode two of HBO’s Canadian sports-romance series Heated Rivalry pushed it to a new audience entirely.
Wet Leg also picked up BRIT Award nominations for Group of the Year and Alternative/Rock Act this year, their first return to the BRITs since performing “Chaise Longue” with Boss Morris in 2023, a performance Jeremy Deller described as “a cultural moment.”
The band’s live schedule through the rest of 2026 is one of the more impressive festival runs going. June alone covers Primavera Sound in Barcelona, Governors Ball in New York, All Things Go in Toronto, Bonnaroo in Tennessee, Isle of Wight Festival, and PinkPop in the Netherlands. July brings headline UK dates including Alexandra Palace Park in London, Castlefield Bowl in Manchester, and Millennium Square in Leeds. A support slot with Alanis Morissette in Glasgow sits at the end of June, and the summer closes out with festival appearances in Portugal and Paris.
The “mangetout” remix is out now.
Upcoming Live Dates:
3 Jun — Primavera Sound, Barcelona
6 Jun — The Governors Ball, NYC
7 Jun — All Things Go Festival, Toronto
12 Jun — Bonnaroo, Manchester, Tennessee
19 Jun — Isle of Wight Festival, Isle of Wight
21 Jun — PinkPop, Landgraaf, NL
26 Jun — OpenAir St. Gallen Festival, Switzerland
28 Jun — La Prima Estate, Italy
30 Jun — Bellahouston Park, Glasgow (w/ Alanis Morissette)
1 Jul — Trinity College, Dublin
8 Jul — Castlefield Bowl, Manchester
9 Jul — Millennium Square, Leeds
10 Jul — Alexandra Palace Park, London
25 Jul — Latitude, Suffolk
26 Jul — Tramlines, Sheffield
2 Aug — Hinterland Festival, Saint Charles, Iowa
Alex Sampson writes about the specific kind of loss that starts before anything is actually over. “Not Even Gone,” out now via Warner Records, lives in that exact space, the quiet dread of holding someone close while already sensing the end coming.
“It’s not just a song about missing someone, it’s missing them before they’re gone,” Sampson says. “It’s inspired by that feeling when you know you’re going to lose them, whether it’s a breakup, death, or simply leaving for a while. You still have them in that moment.”
The single continues a year that has Sampson moving fast. He recently wrapped support dates with Jamie Miller across North America and Europe, launched his first headline tour across the U.S. and Canada this month, and has a debut album arriving this summer via Warner Records. “Not Even Gone” follows his sophomore EP ‘Hopeless Romantic’ and points directly toward where that album is headed.
Ahadadream has been sitting on “Bass Dhol” since early 2023. The Pakistan-born, London-based producer started the track in Miami with Skrillex, played him some Raf-Sappera, and the three knew immediately what they had. Three years later, the single is out now via Astralwerks, and it’s been worth the wait.
“The beginnings of ‘Bass Dhol’ were back in early 2023, when Sonny invited me to work on music together in Miami,” Ahadadream explains. “That’s when I played him some Raf Saperra too, he loved the vibe and we thought he’d be perfect for this track. Early versions of the track have been getting played since back then, so I’m super happy to finally see this officially going out into the world in its final form.”
The track fuses Punjabi dhol rhythms with driving electronic beats, Ahadadream’s signature skittish drum patterns running underneath Raf-Sappera’s Punjabi vocal presence. It’s a dancefloor record that doesn’t soften its cultural reference points. The dhol is the foundation, not a garnish.
“Bass Dhol” follows “TAKA,” Ahadadream’s previous collaboration with Skrillex and Priya Ragu, which announced him to a global audience in unmistakable fashion. “TAKA” went viral at his debut Boiler Room when Skrillex appeared on screen to debut it live. BBC Radio 1 named it Hottest Record, Essential New Tune, and Track ID, a rare triple crown the station hadn’t awarded since Calvin Harris’ “How Deep Is Your Love” in 2015. Support from Peggy Gou, Fred again.., Four Tet, Dixon, and Chris Lake followed, and the track has since accumulated millions of streams worldwide.
Ahadadream draws from the UK, Pakistan, and the wider African and South Asian diasporas, and his production reflects every one of those influences without ranking them. With scene support from Skrillex, Fred again.., Four Tet, Eliza Rose, and Pete Tong already established, “Bass Dhol” pushes his profile further into the conversation at exactly the right moment.
Ian Munsick is heading back to Red Rocks. The Wyoming-born country artist has expanded his Eagle Flies Free Tour with 10 new dates running through summer 2026, capping the run with a second headlining appearance at Red Rocks Amphitheatre on August 25, his first return to the venue since selling it out in 2024.
The tour supports Munsick’s third studio album ‘Eagle Feather,’ released in 2025 via Warner Music Nashville. Holler praised it for its “expansive tracks, atmospheric anthems,” and Rolling Stone noted the record “is shaped by the landscape of the West, the stories of Native Americans, and the romantic idea of the cowboy.” It’s a 20-track album that covers serious ground, and the tour has been built to match its scale.
Leading into the expanded run is “Geronimo,” Munsick’s first release under WEST TO THE REST RECORDS/Triple Tigers Records and the first preview of new music beyond ‘Eagle Feather.’ The official video, directed by Ben Christensen and shot in Wyoming by Isaac Spotts, is out now. Munsick described it simply: “If National Geographic and 70s country and western MTV had a baby, it would be the music video for ‘Geronimo.'”
Spotts, who filmed on location across Wyoming, added his own take: “This song completely captures the vibe of the west. Getting the opportunity to try and bring those lyrics to life was such an honor.”
Munsick has accumulated over one billion global streams across three albums. His RIAA-Platinum duet “Long Live Cowgirls” with Cody Johnson hit No. 1 on SiriusXM’s The Highway Hot 30. “Long Haul” and “Horses Are Faster” hold RIAA Gold certifications. He’s sold over 100,000 headlining tickets across 2024 and 2025, opened for Lainey Wilson and Morgan Wallen, headlined Cheyenne Frontier Days, and founded his own label imprint WEST TO THE REST RECORDS.
Kenny Whitmire joins as support on the remaining dates. The Georgia-born singer-songwriter moved to Nashville in 2022 and has been sharpening a classic country sound rooted in Merle Haggard, Keith Whitley, and Randy Travis. His recent singles “I Gave Her The Moon” and “Me Being Me” are out now.
Tickets are on sale now at IanMunsick.com.
Eagle Flies Free Tour, Remaining Dates:
22 May — Isle of Palms, SC — The Wind Jammer (w/ Kenny Whitmire)
23 May — Pelham, TN — The Caverns (w/ Kenny Whitmire)
30 May — Cocoa, FL — Cocoa Riverfront Park Amphitheater (w/ Kenny Whitmire)
5 Jun — Louisville, KY — Fourth Street Live
27 Jun — Libby, MT — Happys Inn
25 Aug — Morrison, CO — Red Rocks Amphitheatre (w/ ERNEST and Ned LeDoux)
Devil’s Cut have been building toward this. ‘Roadkill,’ the Louisville country-metal band’s debut album on MNRK Heavy, is out now, and it makes good on every promise the band has been setting up since 2018. Ten tracks, two worlds colliding, and zero apology for either.
The band’s origin traces back to a conversation with manager Cody Ash, drummer for Jelly Roll, who believed merging country and metal wasn’t a gimmick but a direction. Devil’s Cut proved him right. Their 2019 cover of Dan + Shay’s “Tequila” hinted at what was possible. “Insomnia” in 2022 became a TikTok moment with over 97K YouTube views. Touring with Royale Lynn and Attila, plus festival slots at Aftershock, Welcome To Rockville, and Louder Than Life, built the fanbase show by show.
“We grew up on Tim McGraw and Garth Brooks, but we love Metallica and Pantera,” says frontman Trey Landrum. “We’re metal with hints of country, but we’re doing it differently, fucking with it and making it our own.”
To make ‘Roadkill,’ Devil’s Cut relocated to Nashville for a month and wrote with co-writers including Cody Quistad (Pop Evil, A Day To Remember), Serg Sanchez (Morgan Wallen, Bailey Zimmerman), Kile Odell (Nothing More, Cory Marks), and Jordan Centers (Trey Lewis, Josey Scott). Producer Evan McKeever (Miranda Lambert, Starset) shaped the final record. Lap steel, mandolin, and banjo appear throughout, woven in as texture rather than novelty.
Landrum describes the album’s emotional range plainly: “Either sad, ‘I-want-to-cry’ songs or ‘hey man, I want to have a beer and shoot guns in the woods with my friends.'” That contrast runs through every track, from the rowdy opener “Drink With The Devil” to the worn-down weight of “Bottles Run Dry.” The band’s country cadence and everyman lyricism hold both ends together.
Every track on ‘Roadkill’ gets its own video, and Devil’s Cut are spending much of 2026 on the road. Remaining dates continue through June, including a run with Alborn and a summer festival appearance.
‘Roadkill’ is out now on MNRK Heavy.
Upcoming Tour Dates:
6 May — Manalapan, NJ — Locals Bar
7 May — Catonsville, MD — Morsbergers
8 May — Raleigh, NC — Cannonball Music Hall
9 May — Spartanburg, SC — Ground Zero
10 May — Nashville, TN — The Cobra
6 Jun — Chesapeake, OH — Blazing Summer Music Festival
Lords of Acid are back with a new album on the way and a 29-city U.S. tour already underway. The “Cheeky Freaky Tour” kicked off April 25 and runs through May 31, with remaining dates spread across the Midwest, Southeast, Texas, and West Coast. For a band that built its reputation on confrontation, seduction, and pure electronic attitude, this is the tour that backs all of it up with fresh material.
Praga Khan, founder and creative force behind Lords of Acid, isn’t hedging on what this means. “For the first time in eight years, there is truly new material,” he says. “A new album is coming, and the ‘Cheeky Freaky Tour’ ushers in a new era for the band, with respect for the past, but with a clear focus on the future.”
Acid Queen Carla Harvey leads the current lineup through a set that weaves catalog staples like “Pussy,” “I Sit on Acid,” and “Crablouse” alongside new material from the forthcoming album. The show is built around tension, dynamics, and presence, a live electronic experience that doesn’t ease the audience in gently.
The supporting lineup is as deliberately assembled as the setlist. Dead On A Sunday brings raw gothic energy. Princess Superstar delivers sharp lyricism and club-ready swagger. Tony and the Kiki add alternative, fashion-forward pop. MZ Neon opens each night with underground-driven electronic sounds. Both Princess Superstar and Tony and the Kiki also appear on the upcoming Lords of Acid album, giving the live show an added layer of context.
Lords of Acid have spent decades defining what unapologetic electronic music looks and sounds like. This tour isn’t a victory lap. It’s a restatement of everything the band stands for, loud, visual, playful, and entirely on their own terms.
Tickets are available now.
“Cheeky Freaky Tour” Remaining Dates:
4 May — Kansas City, KS — Warehouse
5 May — Minneapolis, MN — Varsity Theater
6 May — Chicago, IL — Bottom Lounge
7 May — Detroit, MI — Magic Stick
8 May — Pittsburgh, PA — Preserving Underground
9 May — Washington, DC — Union
11 May — Cleveland, OH — Mercury
12 May — New York, NY — Racket
14 May — Atlanta, GA — Masquerade
15 May — Orlando, FL — The Abbey
16 May — Ft Lauderdale, FL — Culture Room
17 May — Tampa, FL — Orpheum
19 May — Ft Walton Beach, FL — Downtown Music Hall
Stephanie Urbina Jones made a promise stick. When Vince Gill first heard her Honky Tonk Mariachi sound at Nashville’s 3rd & Lindsley more than a decade ago, he told her he’d be honored to sing with her on a future recording. That moment arrives on “Falling Fearlessly,” out now, with the official music video premiering alongside it.
The song comes from Urbina Jones’ album ‘Manuel’s Destiny’ and was co-written with Peggy Lynn Marchetti, daughter of country legend Loretta Lynn. The two writers found the song during a late-night writing retreat in Mexico, working under a full moon beside the Caribbean Sea. They came back to Nashville knowing they’d captured something that wouldn’t let go.
Gill’s background vocals add a warm emotional layer to a track already built around surrender and courage. It’s a love song that asks something of the listener, not just to feel the sentiment, but to recognize what it takes to follow it. “The heart has no borders,” Urbina Jones says. “It loves who it loves. When it calls you, follow it, it always knows the way.”
The official music video was filmed in San Miguel de Allende, Mexico by Cinnetica Films. Centered on a love story between a Hispanic man and a white woman, reflecting Urbina Jones’ own family heritage, the visual brings in dancers Hannah McCarthy and Arturo Jimenez Cano from Nashville and Mexico. The result is what Urbina Jones calls a “theater of love,” a cross-cultural story told with passion and without apology.
Urbina Jones is a No. 1 Texas Country Radio Artist and No. 1 Billboard Country Songwriter who made history as the first artist to perform with a mariachi ensemble on the Grand Ole Opry stage. She’s shared stages with Willie Nelson, Vince Gill, and The Time Jumpers, and has toured internationally throughout her career. Her Honky Tonk Mariachi sound draws from classic country, Americana, and mariachi traditions, rooted in her San Antonio and Nashville background and shaped by her deep admiration for Linda Ronstadt’s fearless movement across genres.
